Noah Cyrus recently put her haters on blast in a series of tweets, “i am v aware there’s a lot of you who don’t like me or the way i look. you guys have made it very clear since i was probably younger than 12.” And she isn’t wrong. Since the beginning of her career, Cyrus has been levied with unfair criticisms and comparisons to her famous family, but on her recent EP The End of Everything, she comes into her own sound that successfully sets her apart.
i am v aware theres a lot of you who dont like me or the way i look. you guys have made it very clear since i was probably younger than 12. im used to it. but for the younger kids pls dont let them grow up with that kinda hatred. it fucks someone up just chill the fuck out???
— Noah Cyrus (@noahcyrus) May 8, 2020
On “Young and Sad” she tackles this sentiment head on with lyrics about a sister that is “Always bringing good light wherever she will go,” and refers to herself as “born to rain clouds.” It’s a moment that is a bit honest past the point of comfort, but extremely refreshing in an era of anxiety driven pop that can overwhelmingly feel generic and calculated. There is something about Cyrus’s emotional appeals that feels more authentic than the typical Gen-Z popstar.
This intense honesty will end up as a recurring theme within the rest of the EP. Perhaps showcased best on the confessional single, “Lonely,” where she sings that “I’m slowly killing myself. I’m trying so hard at the back of the shelf.” It’s blunt moments like this that can be startling at first listen, but the longer theses lyrics simmer, the more pronounced it becomes that this is what makes Cyrus’s new music so compelling. This trend continues on standout tracks like “Wonder Years,” “The End of Everything,” and “Liar,” each packing an effective emotional punch and a memorable melody.
It is in these bright moments that longtime listeners can realize just how much Noah’s vocals and songwriting quality have rapidly ascended. While she jump-started her career with the excellent “Make Me (Cry)” in 2017, the following string of singles were sporadically styled and did not properly showcase her voice and songwriting style. Fast forwarding to 2020, the streaming era has been kind to Cyrus and allowed her to find an audience and sound that works for her: melodic, acoustic-driven pop with modern, minimalist stylings and slight country undertones that lean into her Nashville roots.
These Nashville roots are most present on the psychedelic, country-pop influenced “I Got So High That I Saw Jesus.” Noah’s streaming breakthrough, “July,” is just as vulnerable and beautifully understated as it was upon its release when it signaled the strong material to come in her new era.
While the project is titled ‘The End of Everything,’ that feels far from the reality for Cyrus as this seems more like a beginning for the singer. Equipped with a fresh sense self-assurance and honesty, she has found a sound that is distinct and highly effective for her voice and songwriting, cultivated a loyal streaming following, and most importantly become a compelling artist in her own right, regardless of her last name.